Sunday, September 30, 2012

The Met revived Carmen on Friday night in an unforgettable
fusion of cast and production.

Richard Eyre’s production is one of the better ones to
premiere during the Gelb era. The curtain is a black one with one red stripe
through it. This red stripe opens up during the first and third acts to reveal
ballet dancers that simulate the passion and intensity of Carmen and Jose’s
romance. In the opera’s prelude the dance is set against the dark and fateful
music, emphasizing the destruction of the main heroine while in the third act,
the ballet is set against the tender intermezzo that serves as the cinematic
equivalent of montage to show the brief beauty of the romance between Carmen
and Jose.

Carmen, like Mozart’s Don Giovanni, is a tragic-comedy. The
opera premiered at the Opera Comique and in a sick way (like Don Giovanni) has
a happy ending in which the main character, also an anti-hero of sorts, dies.
Whereas the happy ending celebrates the death of the Don in Mozart’s masterwork,
the “happy” ending in Carmen celebrates the heroine’s independence and liberty
until the very end of her days. Even Bizet is content to delight in this double
personality of his work. The prelude starts off with the gallant toreador’s
march before being taken over by the aforementioned fateful theme. During Act
3, Carmen sings a fateful lament upon reading the fateful hand of cards she has
been dealt while Frasquita and Mercedes sing a joyful theme. This same
technique is employed in possibly the most incredible display of dramatic
counterpoint in the final act when Jose kills Carmen while the crowd cheers
Escamillo’s goring of the bull.

The Celebrated soprano Carmen Giannattasio makes her long awaited Met debut in the role of Leonora in Verdi's Il Trovatore. Veteran mezzo Dolora Zajick returns to her signature role as Azucena, Gwyn Hughes Jones sings the title role of Manrico and Franco Vassallo sings the Count. Danielle Callegari conducts the acclaimed David McVicar production.

For more information on Il Trovatore check out our preview linked here.

Thursday, September 27, 2012

The Met has just announced that Francesco Meli will no longer sing the role of Leicester in Maria Stuarda. Matthew Polenzani who just opened the season in L'Elisir d'Amore will take over every single performance joining Joyce Didonato.

Official press center: “Matthew Polenzani will sing the role of Leicester in all performances of the Met’s new production of Donizetti’s Maria Stuarda this season, replacing Francesco Meli, who has withdrawn the role from his repertoire.”

The Salzburg production of La Boheme will be released this November by Deutsche Grammphon. The production stars Anna Netrebko, Piotr Beczala, Nino Machaidze and Massimo Cavalleti and is conducted by Danielle Gatti. The production was by Damiano Michielleto

Tuesday, September 25, 2012

Last night the Met opened its 2012-2013 season and the celebrities came out to walk the carpet. Among them included Patrick Stewart, Martha Stewart, Maggie Grace, Lee Pace and Zac Posen. Even some of Opera's most talented came out icluding Renee Fleming, Deborah Voigt (She hosted), Maria Guleghina, Placido Domingo, Isabel Leonard, Lissette Oropesa and of course Anna Netrebko and her husband Erwin Schrott.

Monday, September 24, 2012

Maria Guleghina and Irene Theorin share the title role of the Icy Princess in Puccini's unfinished masterpiece.

The Production

Franco Zeffirelli's critically abhorred production returns to the Met. Ever since the Met premiered the Zeffirelli production critics have complained for his excess and for the grand scale. They have stated that the big sets take away from the action and do not let the singers shine through. Nevertheless the production has been one of the audiences favorites as the sets are rich with detail bringing the audience to the world where the action takes place. The costumes are also striking and with great actors such as this years cast, the characters are easily brought to life without any distractions. Peter Gelb has stated in various interviews that there are no plans of changing the set and I applaud him for it. Zeffirelli's Turandot is a spectacle that is is easily one of the Met's finest productions to date.

Thursday, September 20, 2012

Just got back from this mornings L'Elisir d'Amore rehearsal. Here are our impressions

I would like to preface this article by stating that this is not intended to be a review but simply a reaction to the dress rehearsal I was present for of the Met's new production of Gaetano Donizetti's "L'Elisir D'Amore." I refrain from considering this a review for a number of reasons. First off, I will make many comments on the singers (which were all excellent) because this was a rehearsal and they were not singing at an hour optimal to their voices. As such I will focus mainly on addressing my reaction to Bartlett Sher's new production which will open the season this coming Monday September 24. But bear in mind that since this is a rehearsal any comments I make on what I saw may very well be altered or changed by the time Monday rolls around.

As stated by General Manager Peter Gelb, "L'Elisir" represents the first time in his now seven year tenure as manager that the reputable opera company opens with a comedy. An exquisite "Madama Butterfly," a strong "Lucia Di Lamermoor," a gala dedicated to singer Renee Fleming, "Tosca," a unique new production of "Das Rheingold," and "Anna Bolena" were the opening nights of the Gelb period. All of these nights showcased dramatic works that in some ways emphasized the splendor of opera.

But now comes a comedy, an everyman's story of a shy lover who wants THE girl in town but she plays to hard to get. The story plays out like everyone's favorite romantic comedy, but with delightful music. It should be a fun night at the opera with the right singers and production. Continue reading

In a recent interview with the Wall Street Journal Anna Netrebko has revealed that she will be dropping the INA roles and adding new heavier roles. In those plans she is singing Eugene Onegin for next years opening night at the Met, Manon Lescaut in Munch in 2014, Lenora in Il Trovatore in Berlin in 2014 and Elsa in Lohengrin in 2016. She also said that Lady Macbeth will also happen as well as the rarely heard Giovanna d'Arco. Norma is also rumored for 2016 at the ROH.

Sadly Anna has stated that there will be no Madama Butterfly, Suor Angelica, Desdemona or Maria in Simon Boccanegra. She will be retiring Gilda, Julietta and Manon.

Monday, September 17, 2012

Last year when the Met announced that they were doing a new production to the L'Elisir d'Amore I was ecstatic that they would finally get rid of the 1991 John Copley production. I have never been a fan of the colorful and cheerful sets nor the clumsy and hokey costumes. However after seeing it with a cast with the likes of Juan Diego Florez, Diana Damrau, Mariusz Kwiecien and Alessandro Corbelli, I had realized that it wasn't the production that bored me, it was the lack of energy that was produced on stage. After April's performances of the work, I was sad that I would never see this production or such cast again. Additionally I was upset that the Met had not made an HD for it. Therefore when the programs for the new season arrived I was honestly not thrilled by the casting or the decision of a new production to open the season. Originally the season was supposed to open with a new production of Eugene Onegin but was moved to 2013-2014. The 2013-2014 season was supposed to open with a new production of La Boheme but was cancelled after the Tosca fiasco in 2009. As a result Gelb had to come up with a quick change and what he decided was a new L'Elisir since he already disliked the current production. Bartlet Sher who has been great with comedy in his two Met productions of Le Comte Ory and Il Barbiere di Siviglia was hired. For his concept, Sher decided to research, Donizetti's old sketches to see what the original intention was. as a result for the new production he has decided to use backdrops and John Copley style flats. Based on the pictures of the production, it looks like a combination of the Vienna Schenk production and the Copley production using brown for most of his sets and vibrant colors for his costumes. This will most likely be good as it will bring in all the traditional minded folks into the house and there will be no boos on opening night. However the question that comes into play is where does Peter Gelb's revolutionary modo come into play if this new production looks and breathes the same air as the older generation productions Gelb is trying to get rid of. While I think I will enjoy this production I have a feeling I will be disappointed by the casting and by the safeness. However I may be wrong.This production will be part of the HD transmission.

The second installment of the Ring Cycle premieres tonight. Two years ago I named this performance the best of HD of 2011 and it is truly an incredible performance with an all star cast that includes Deborah Voigt, Bryn Terfel, Jonas Kaufmann, Stephanie Blythe, Eva-Maria Westbroek, and Hans-Peter Konig. James Levine Conducts this exciting new ring.

Tuesday, September 11, 2012

The cover art to "The Enchanted Island" has finally been released. The DVD will be released this fall under Virgin Classics. The opera stars Danielle de Niese, Joyce Didonato, David Daniels, Placido Domingo, and Luca Pisaroni.

After last nights preview with Wagner's Dream, tonight is the start of the Met's controversial new production of the Ring. Das Rheingold will air on PBS at 8pm. The opera stars Bryn Terfel, Stephanie Blythe, Eric Owens and Richard Croft. It is conducted by James Levine.

Monday, September 10, 2012

The first of the releases is La Didone conducted by William Christie leading his esteemed group Les Arts Florissants. Anna Bonitatibus, Kresimir Spicer, Xavier Sabata lead the cast in Cavalli's early gem from the theatre de Caen. Opus Arte releases.

Thursday, September 6, 2012

The Met released more pictures today and I have a feeling there will lots to come as the season opening comes closer. The following show more L'Elisir d'Amore and more backstage of Turandot and Il Trovatore.

It looks like Sony has finally decided to release Il Postino from the LA opera. The opera by Daniel Catan stars legendary Placido Domingo and Charles Castronuvo as well as Christina Gallardo Domas and Nancy Fabiola Herrea. No news on the release date.

Monday, September 3, 2012

As the Met gears up for their new season, they are showing past HDS outside the Met in Lincoln Center Plaza. Tonight at the Anna Bolena showing, Anna Netrebko made a surprise appearance on the Met plaza greeting fans and inviting them to see the new production of L'Elisir D'amore. She said that was excited not die in an opera and that the production terrific. More on the production coming soon.

David McVicar's crowd pleasing Trovatore returns with a cast of up and coming stars which include Gwyn Hughes-Jones, Carmen Giannattasio and Alexey Markov

The Production

For years the Met had suffered from terrible productions of Il Trovatore from Fabrizio Melano and Grahm Vick. They were unable to tell the story that has become known for its complicated plot and its complex characters. In 2009, 6 years after the last Trovatore had been shown, the Met unvealed a new production by David McVicar and quickly became a critic and audience darling. The production has only missed one season and has been easily cast. Set in the Spanish Civil War, McVicar's sets uses a rotating turntable to easily move the action forward. The backdrops draw inspiration from “The Disasters of War,” Goya’s series of etchings and give the production a consistent and harrowing look. Having seen the production twice I was absolutely convinced the first time by its direction, and its imagery. As critics stated I believed the Trovatore "curse was broken." However the second time I was bored as the sets looked like drab and ultimately failed to provide any new insight. I don't know if it was because the cast was nothing special or because the production is ultimately a one shot deal. However what I do know is no matter how good a production is, the cast is ultimately what matters when it comes to this opera.